Westminster, CO | Documentary Photo | The Kids Are All Wet

Here is a fun documentary photograph to kick off the weekend. Back in September, the family and I went to a free concert at the Westminster Promenade in Westminster, CO. While following Emma around to make sure she didn’t cause too much trouble, I noticed the kids playing in this fountain.

As the sun got lower in the sky the light got better and the scene got more interesting. Also, most of the kids started to clear out, and I was able to get this one frame with a couple of kids in just the right spot. It was really an exercise in anticipation and patience.

Wait for the light to be low enough to back light the water and silhouette the kids – Wait for just a couple of kids doing something interesting – Make sure no one is walking through the background – Anticipate the moment when the water is shooting to its highest point – CLICK! One shot, one good frame is all I was able to get. In the next frame, the bright sunlight was gone and the kids had moved together to make one black blob instead of two distinct silhouettes.

I guess this was one of those times when a snap-shot wasn’t really a snap-shot.

You can click on the image to see it larger. Enjoy…

Tech Info:
Nikon F3
Nikon 50mm f1.4
Ilford HP5 Plus
Ilford Ilfotec DD-X (9min @ 20C)

Camera Scan
Sigma SD9
Sigma 50mm f2.8 Macro
Photosolve Xtend-a-Slide

Sterling, CO | Documentary Portraits | Bye Bye Summer

Last night, we had our first frost of the season here in the Denver metro area. I thought I would take the opportunity to look back at some fun documentary portraits from the summer. These were photographed at my grandmother’s house in Sterling, CO. The girls wanted to go out and play in the sprinkler and I wanted to get some pictures of them, so it worked out for everybody.

As you can see, they had a great time and I really like the pictures we were able to make. This was a great location for the shoot because I remember doing the same thing in the same location when I was a kid. It has meaning for me, so it adds something special to the images.

We had nice late afternoon light that I was able to use to rim-light the girls and back-light the water droplets. This makes for really interesting light in the images – soft on the skin and faces, but nice and contrasty on the edges and in the background. Also, because I was shooting black and white film, I was able to retain detail in the bright highlights and in the sky. If these same pictures had been shot on a digital camera, there is a good chance all of the highlight detail would have been lost.

The setting, the light, the “props”, the “wardrobe”, it all screams summertime and fun. This is what I go for in my documentary portrait shoots. Capturing a great memory, not just what the kids looked like at a certain moment in time.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Nikon F100
Nikon 50mm f1.4
Legacy Pro 400 (AKA Fuji Neopan 400)
Ilford Ilfotec DD-X Developer (7min @ 20C)

Camera Scan
Sigma SD9
Sigma 50mm f2.8 Macro
Photosolve Xtend-a-Slide

Boulder, CO | Chautauqua Wedding | Quiet Bridal Portraits

There is a trend right now to turn bridal portraits into edgy fashion shots. While this works for a lot of photographers, it is not really my thing. I really prefer quiet, authentic bridal portraits like the ones shown below.

We made these portraits after coming in from the rainy bride/bridesmaids portrait session before Kate and Brandon’s intimate wedding at the Chautauqua Community House in Boulder, CO. I had Kate sit down in a chair next to a window in the little cottage where the ladies got dressed. This gave me beautiful soft window light coming from camera right, a nice gradation of tone on the simple white wall in the background, and just a tiny bit of rim light coming from another window behind Kate’s camera left shoulder. This is very traditional, and beautiful, portrait light that was achieved simply by looking around and placing the subject in the right location. No artificial lighting necessary.

I shot these images as Kate sat and chatted with her bridesmaids. This kept the situation light, and made for authentic and interesting expressions. I really love the shot that shows Kate’s wonderful profile. The perfect hair, translucent veil, and lace shoulders of the dress combine to lend the picture a sense of delicate beauty. It has a timeless quality that will keep it from looking dated in the decades to come.

You can click on either of the images to see them larger. Enjoy…

Tech Info:
Very soft window light coming from camera right + subtle rim light coming from back camera left
Nikon F100
Nikon 50mm f1.4
Legacy Pro 400 (AKA Fuji Neopan 400)
Richard Photo Lab

Documenting Your Family | Photo Tips | Back-up Your Images

In Sunday’s Denver Post, buried at the back of the A&E section, was an important article on the challenges of archiving our audio history – http://bit.ly/cmPHOe. These are very similar to the challenges that we all face in archiving the digital images and videos that we are creating to document our families.

In my post last week, I talked about the importance of making prints. Of course, prints are the safest way of archiving your photos, but they don’t do much for videos or if you may want a larger print at some point in the future.

So, in addition to prints, it is imperative that you make digital back-ups of your images (videos). When you shoot pictures on your digital camera or cell phone, the images are saved on relatively stable memory cards. But these cards do “go bad” with no warning. Also, while these cards are in your camera, they hold the only copy of your images. This can be dangerous for a few reasons – loss, theft, breakage & card failure come to mind, so it is a good idea to get the images off of your memory cards as soon as possible. Don’t let them languish on the cards for months at a time.

As you copy the images from your memory cards, remember, you always need to have the digital images stored in at least two places at any given time. Digital data storage is a tricky thing. Drives can just fail with no warning and recovering the data is very expensive (if it is possible at all). Below is a look at my typical back-up workflow…

  1. Shoot, shoot, shoot – I rarely delete anything on the back of the camera. You never know when something in a picture may become important.
  2. Ingest, rename, and add ownership meta-data (I will cover this in a future post) to the images from my memory cards using PhotoMechanic. PhotoMechanic actually ingests the images to two different hard-drives (my primary “Images” drive and my “raw file” archive) at the same time. Automatically ensuring that I have saved the images to two different places – obviously, this is something that you could do on your own, PM just makes it really easy.
  3. At the end of my day, I kick off a system wide back-up. It makes a complete back-up of my entire system, including my “Images” drive. This ensures that I have updated back-ups of all the images that I have worked on that day. So, when this process completes, I have the images that I pulled off of my memory cards saved on at least three drives – raw file archive, Images drive, and back-up drive.
  4. The next morning, I come in and check that the back-up ran successfully. If it did, I go ahead and re-format my memory cards. Note: It is not good to have half used memory cards laying around. If you grab one and load it in your camera, you won’t know whether the images on it have been backed-up.
  5. A final step to consider is “off-site” back-up, which will cover you in the event of a fire or theft. There are a couple of ways that I handle off-site back-up. I upload a lot of our personal images to a Flickr account. This lets me share the pictures with friends and family and also lets me quickly order a bunch of prints. I also like to make CD/DVD back-ups of my “raw-file” archives and store them at a different location.

I know that the above series of steps seems like a big undertaking, and is probably overkill for many people. Documenting families and special events is my job as well as my personal hobby, so keeping those memories protected is something that I am passionate about.

For the average person, a few simple steps may be all that is required to keep your images safe…

  1. Get the images off of your camera and onto your computer
  2. Run a system wide back-up (you should have this for all of your valuable data, not just your images)
  3. Load your favorites to a photo sharing or printing web site
  4. Make prints

How are you protecting your images? I would be interested in hearing how others are working through these issues. Also, let me know if you have questions.

Tech Info:
Sigma SD9
Sigma 50mm f2.8 Macro
Natural light coming through an open door
f3.5 | 1/60 | ISO 100

Northglenn, CO | Documentary Portraits | Playtime Pictures

Here are some fun documentary portraits from a trip with Molly to E.B. Rains Jr. Memorial Park in Northglenn, CO.  I really like these pictures because they feel authentic, with great expressions and an interesting environment that adds to the image. The pictures were captured using just the available light, with no posing necessary. I really prefer to work in this way, especially with kids. Interacting and moving around beats sitting and saying “cheese” every time.

To get kids looking at the camera, just wait until they have slowed down to focus on something (like playing the “piano” below) and then say their name. They will look over, and you can snap the picture before they realize what you are doing. Once they realize, they may put on the big fake smile, or look away. It depends on the kid… and the day.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Nikon D70s
Nikon 35mm f2
B&W conversion in Adobe Camera Raw 5

Documenting Your Family | Photo Tips | Make Some Prints

I wanted to use today’s post to remind you to print your pictures. With the advent of digital photography, we are all shooting far more pictures than we ever have in the past. But I fear we are actually printing far fewer.

I know I am guilty of this, but it is something that I am consciously working on. I have actually moved back to film cameras for a lot of my photography, specifically so I can have a tangible document (a negative). It still makes me nervous that after shooting something on a digital camera, and going through all my back-up procedures (a topic for a future post), I really only have a bunch of ones and zeros on a magnetic disk (or two or three). My feeling is that if you don’t have a print, you don’t have a photograph. For this reason, all of my wedding and family portrait sessions include a complete set of real photographic proof prints.

One of the great things about digital photography is our ability to pick and choose the pictures we want to print. If you shoot fifty pictures at a birthday party, you don’t need to print all fifty, just pick your five favorites and print them. But, don’t forget to print them. The follow through is where we get into trouble.

I would recommend setting up an account with flickr (did you know you can order prints through flickr?), Costco, Adoramapix, Winkflash, Snapfish, or any of the other online print providers and start uploading your favorite pictures.  A quick tip  – the printing is cheap compared to the shipping, so wait until you have enough images to make it worth the shipping costs, or if you live near a Costco, you can order the prints online and pick them up at the store.

When documenting your family, it is critically important to have these memories archived in a tangible way. If you are shooting digitally, you no longer have negatives to fall back on, so prints are your best way to ensure that the memories you have captured will be visible for generations to come.

Tech Info:
Sigma SD9
Sigma 50mm f2.8 Macro
Window light
ISO 100, f4.0, 1/60

Boulder, CO | Chautauqua Wedding | Reception Photos

Below is the final set of images documenting Kate and Brandon’s wonderful wedding at  the Chautauqua Community House in Boulder, CO. These were all shot after the ceremony seating arrangement had been broken down and the room was re-set for the reception. It always amazes me how fast this can be accomplished.

The images were all photographed in my typical style – candid, natural light, and wait for a special moment before pressing the shutter. It is these special moments that make wedding photography interesting to me. Of course, I document the details and shoot the portraits, but capturing emotions, expressions and interaction, that’s where it’s at! The moments make every wedding different and give life and energy to the photographs.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Black & White

  • Nikon F100
  • Nikon 50mm f1.4
  • Mix of Fuji Neopan 1600 and Legacy Pro 400 (AKA Neopan 400)
  • Richard Photo Lab

Color

Documenting Your Family | Photo Tips | Get Closer

“If your pictures aren’t good enough, you’re not close enough.” – Photojournalist Robert Capa

Robert Capa was a war photographer who was well known for always being right in the middle of the action. He was killed by a landmine while photographing the First Indochina War, on May 25, 1954. His quote above is a reminder for us to get physically closer and become more intimate with those we are photographing. Capa did not accomplish this through the use of long lenses (not in common use prior to 1954), but through proximity.

Getting closer accomplishes a few things:

It lets us understand what is going on and lets our subjects get used to us being around and having a camera. If you stand on the edges of the action and use a long lens to capture images, this will often draw attention and even suspicion. If you are comfortable and involved, people will start to forget about the camera and you can document truly candid moments. Photographing your own family makes this really easy, you are a supposed to be there, all you have done is add a camera to the mix.

Getting closer and using a wide angle lens will allow you to incorporate background into an otherwise intimate photograph. This gives the image a sense of place and tells the viewer what was going on at the time the picture  was captured. This type of picture is often called an environmental portrait.

If you get close while using a normal or short telephoto lens (the max I routinely use is an 85mm) you are able to remove much of the background or turn it into a pleasing blur. This focuses the viewers attention on your main subject and can make for a powerful photograph.

Getting close and being involved with your subjects gives you far more options in terms of lighting and background/foreground elements. If you are standing back and shooting with a long lens, you are pretty much stuck with whatever light direction and elements happen to line up in your frame at the time the shutter is tripped. If your subjects are comfortable with you, and you can move in among them, you can position yourself so there is attractive light, a cool foreground element in the frame, or nice tones/colors in the background. The choice is yours, it is not being dictated by your location or your long lens.

Finally, a note on cropping. As you can see in the image above, you do not always have to show a person’s whole head in a close up portrait. In this portrait, I was really interested in Emma’s wavy hair and the flower pattern in her shirt. I came in close with a 50mm lens (equal to an 85mm on 35mm film) and only shot the right side of her face and included her hair and her shoulder. What did this technique accomplish?  It brought attention to the elements that I was interested in documenting, it excluded the dark shadows on the left side of her face, and it created a pleasing off center composition. Also, the distracting background was reduced to a soft blur.

I hope you find these tips helpful, give them a try and let me know what you think.

Tech Info:
Sigma SD9
Sigma 50mm f2.8 Macro
1/350 sec, f/3.5, ISO 100
Converted to B&W in Adobe Camera Raw

Boulder, CO | Chautauqua Wedding | Bridal Party Portraits

Below are a few of the Bridal Party portraits from Kate and Brandon’s fun and intimate wedding at the Chautauqua Community House in Boulder, CO.

As you can tell from the photos, it was raining pretty hard throughout the day. We really wanted to get outside to shoot these portraits, but because of the weather, we had to work fast and be resourceful. Knowing that the forecast called for rain, Kate and I had both picked up clear umbrellas that worked out really well throughout the day. I think these umbrellas add a cool element to the images that help tie them together an make them unique.

Normally, I would spend a little more time with the bridal party working on variations, groupings, individual portraits, etc., but in this situation, if we had spent any more time outside in the elements, it could have easily turned into a “trash the dress” shoot – not a great idea for the wedding day.

We were all really happy to have such a great location just a few yards from the wedding venue. The muted light, saturated colors, and shiny wet surfaces, mixed with everyone’s great expressions, really made for some beautiful photographs that sum up the emotions of the day.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Nikon N90s
Nikon 35mm f2
Fuji Pro 400H
Processing and Scans by Richard Photo Lab

Westminster, CO | Self Portrait | Set-Up & Execution

The image at left is a recent self portrait. To give you some ideas about things to consider before a portrait shoot, I thought I would try to give you some insight into my thought process on setting up this shot, and details about the actual execution of the shoot.

To start, I am not crazy about the typical “photographer holding a camera while looking in the mirror” self portrait. It can be very limiting in terms of both location and lighting. Instead, I wanted a portrait in a real location using available light. This is my standard operating procedure for any other portrait, why should a self portrait be any different?

As a location, I chose the back deck on my home in Westminster, CO. My family and I spent a good portion of the early summer refurbishing and adding on to the deck, so I thought it would be an ideal location. The north end of the deck is only a few feet from my neighbor’s yard, so we put up six foot reed fencing along this railing to provide privacy. The reed fencing served as the background that you see in the image. Now, if a fence on the north end of the deck served as the background, that tells us that I was facing South when the image was exposed. Normally this wouldn’t be an ideal lighting situation. Fortunately, I planned ahead and shot this image in the late afternoon, and my house blocked the direct light from the sun. So I was lit by the open sky, and fill light was provided by the light gray walls of my house.

For wardrobe, I chose a medium blue shirt. I wanted something that would separate from the background, but would not be too dark and contrasty. Also, I had a haircut a couple days before the shoot. If I go too long without a haircut, my hair naturally grows to a point and it starts to look like I am trying for a mohawk.

For this self portrait, I knew that I wanted to use shallow depth of field to blur the background and draw attention to my eyes and face. To accomplish this, I decide to shoot the image digitally. Using the self timer to expose the image, and shooting film, I wouldn’t know if the pictures were in focus until I got the film back from the lab.

To create the image, I set up my Nikon D70s on a tripod with a 50mm f1.4 lens attached. I set the ISO to 200, the aperture to f1.4 and the shutter speed to 1/1600 of a second. In the shot, I am sitting in a chair and leaning forward on our patio table (the table is not visible). I pre-focused the lens on the edge of the table and then recomposed the shot to cut out the table and give some room above my head. Finally, I set the self timer for 10 seconds, pushed the shutter release and ran over to my chair and sat down. I then leaned in and tried to position my eyes directly over the edge of the table. Before the shutter tripped I just needed to put on an expression that didn’t make me look like a total dork, no easy task. I eventually ended up going through this series of steps about ten times to get a few frames that I liked.

A couple of things that I particularly liked about this frame. I am looking off camera which seems a little more natural, and I only have a half smile, making me seem approachable but not too dorky. Also, this frame looks good as a horizontal (how it was shot), or cropped as a vertical or square…

Jason Noffsinger Self Portrait This is something important to think about when you will be repurposing the image across the web.

You can view the image “in action” over here on my About page, or on my Facebook fan page.

Tech Info:
Nikon D70s
Nikon 50mm f1.4
ISO 200, f1.4, 1/1600
B&W conversion in Adobe Camera Raw